ROSE BOWL ADJUDICATION

Name of Company: CURTAIN UP THEATRE SCHOOL

Name of Production ME & MY GIRL

Venue Julian Slade Theatre

Date 2.30 pm, Saturday 8th April 2017

Adjudicator Caroline Joy

On Saturday afternoon Curtain Up performed this very popular show,

enabling them to demonstrate the wide range of talents possessed by its
young members. This delightful interpretation resulted in a dazzling
example of musical theatre.

The show was fast paced, aided by cast and backstage crew changing the
scenes swiftly and unobtrusively. The stage was well dressed and well lit,
with period appropriate props and the smaller details such as the style of
glasses and jewellery etc, that enticed us into this era and its people. The
scenery was impressive, from the interior (especially the library and
talking busts and portraits), to the exterior of Harewood Hall, the pub and
the streets of London. The set and scenery worked well on the stage and
the space was utilised effectively, with the actors playing to the front of
the stage and using different areas to create other rooms and places.

The sound was well balanced between actor and orchestra, and all cues
appeared well timed. The atmospheric lighting fully supported the mood
and action, achieving many aesthetic effects throughout this production,
especially during the ancestors scene and the lamp post routine with
Bills shadow dancing.

Director, Tristan Carter, included several original touches injecting just

the right amount of comic business and characterisation which allowed

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the audience to get a chance to fall in love with the characters, especially
Bill Snibson. Tristan struck the fine balance between

comedy and romance perfectly, and each character was played with
authority and thus did not fall into the trap of over-egging it. The scenes
where Bill encounters both inanimate and animate objects were well
directed and choreographed, from his somersault into his hat on the
chaise longue, repeatedly tangling himself up in The House of Lords
ermine-collared cape and tripping over it in ever more complex ways, the
swordsmanship, to wrestling with the rather sad and tired looking tiger
rug. The diction and clarity especially during the brilliant cockney
rhyming slang episodes were delivered with confidence and a sound
understanding of timing, tone and context.

The entire cast were switched-on and fully present in the action which
gave this show a sense of spontaneity and freshness, especially in the
more energetic scenes, where it appeared people were falling over and
flying across the stage. Even when there was a moment when lines were
missed, the cast were secure enough in their roles to carry on and kept
the tempo going. The pace, timing, staging and blocking was well thought
out and the characterisation was sustained throughout, including the
various accents.

The input of Musical Director, Anthony Sanchez Harris, was exceptional;

through his awareness of the at times complex range of music, and his
thoughtful interpretations combined with the skills of the band Sam
Davies (Trombone), Charlie Matters (Trumpet), Trudy Monday (Reed),
Sue Lawson (Reed), Daniel Spink (Bass), Phil Styles (Keyboard), Kim
Lee (Percussion) and Jade Morris (Violin) ensured that the vocalists were
provided with perfect musical accompaniments. The orchestra
encompassed every lively melody from the overture to the curtain call. All
the numbers were delivered perfectly with wonderful harmonies and
powerful voices, which made it difficult to pick one out, however there was
something special and magical about Marias Song of Hareford.

Annette Wilsher devised the animated and innovative dance routines.

The choreography incorporated the enjoyable classic music hall moves
which included having the cast play the spoons. The tap dancing routine
to Me and My Girl was performed with ease and, although this routine
has been performed with more abandon, praise must be given to Ben who
accomplished this as a novice tapper. The ensemble sounded great and
Annettes choreography physically mirrored the bright and bubbly tone of
the show perfectly, showcasing a variety of dance disciplines. The big
ensemble numbers, The Lambeth Walk and The Sun has got his Hat On,
were most engaging and had the audience singing along and toe tapping.
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Plaudits must go to all those backstage, the crew and creative team did
solid work, including wardrobe, which provided period appropriate
colourful costumes, ranging from leisure wear, ball gowns, Pearly King and
Queen outfits, and a variety of historical costumes, and the cloak which
was used to great comic effect.

This was a well-cast production with everyone portraying their parts with
fine characterisation and understanding.

ACTING

Talented performer, Ben Carter, took on the role of cheeky cockney

hustler/heir Bill Snibson with incredible enthusiasm and an inexhaustible
ability, with a nod to Charlie Chaplin and Dick Van Dyke (albeit with better
accent) but ultimately made this creation his own, full of physical comedy.
Ben continuously cavorted across the stage a wonderfully expressive face
and energy that was infectious. He was adept at delivering the verbal
humour especially puns and malapropisms, which he pulled off perfectly.
Ben was also good at crooning his solos, especially in the number,
Leaning on a Lamp Post.

Maisie Humphries played Bills gal Sally Smith with vitality selflessness
and sincerity, always acting the emotion of the part, accompanied by fine
dancing skills and a lovely singing voice with a moving rendition of Once
you lose your heart. This was an honest performance that made one
believe in her genuine love for Bill and her heartbreak when she sings
ballads.

There was a convincing chemistry between Carter and Humphries,

especially when they were dancing together.

Shannon Croker as Maria, Duchess of Dene, played the noble matriarch

with an indomitable spirit, and she sang the challenging Song of Hareford
beautifully. This was an admirable interpretation of an aloof, restrained
individual at odds with Bills potent energy which made for delightful
scenes together.

Henry Stratford gave a standout performance with easy grace as Sir

John Tremayne, with definite shades of Prince Charles and Prince Phillip
and just the right amount of humour and pathos in his interactions and
reactions. Stratford as Sir John contrasted well with Maria and was
sympathetic to Sally and he made for a rather realistic drunkard in Love
Makes the World Go Round. There should be an award for facial
expressions alone and it should be presented to you!

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Olivia Locke with her physicality and stature commanded the stage. As
the elegant temptress Lady Jacqueline Carstone she tried every trick up
her silky sleeve to seduce Bill with her vampish behaviour. Locke gave a
mesmerising performance of, You Would If You Could.

Harry Smith as The Hon Gerald Bolingbroke gave an accurate portrayal

of a decadent and weak aristocrat and rejected suitor, who eventually
showed Lady Jacqueline the back of his hand after some very un- PC
advice from Bill. The pitch, pace and tone of your voice was perfect, and
your body language and gestures brought Gerald to life.

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Liam Heap as Herbert Parchester gave a proficient and energetic
portrayal as the rather light on his feet operatic eccentric solicitor. One
highlight was during The Family Solicitor number, when Heaps
Parchester certainly more than let rip a little! Hopefully someone has the
sense to upload this in order to break the internet! What stamina!!

Robbie Mortimer as Sir Jasper Tring used the opportunity to acquaint

himself with the physical limitations of ageing as he hobbled about on his
stick and struggled to hear. This was a well -rounded believable
character, which enabled the other characters to enjoy some good
repartee with Jasper, and although mostly confused he still had a glint in
his eye.

Gregory Green as Lord Battersby and Jenny Lunness as Lady

Battersby, Ellie Marchant (Lady Damming), Lilymoon Davies (Lady
French), Sophie Kay (Mrs Worthington-Worthington), Anya Hathaway
(Lady Brighton), Tara-Marie Arnold (Mrs Sophia Stainsley Asherton),
Evie Goold (Lady Diss/Simon de Hareford), Isla Mulvaney (Lady
Miles/Thomas de Hareford), Ursula Franks (Lady Sheringham/Richard
Hareford), Raphi South as Major Domo, all contributed to the action in
strong supporting roles.

Finlay Hodges gave a wonderfully straight-laced delivery as Charles, the

disapproving Butler, not an easy character to sustain amongst all the
chaos, but Finlay made this role his own and gave a commanding and dry
humoured performance that was a joy to watch.

House staff, Bradley Gill, Fran Versino Kinnison, Isabelle Higham,

Jodi Ashdown-Doel, Jasmine Keysell, Sophie Francis, Phoebe
Jackson, Louis Fox and Grace Reynolds-Buckton, Pearly Queen,
Lizzie Osborn, Pearly King, Amelia DAdemo, Matty Wylie as Boy,
Emelia Patterson as Bet Barking, and Mia Cinus as Cockney girl all
contributed fully to their roles with good stage business.

Edward Cook as Footman/Constable played strong supporting roles,

especially the posh, learned constable which was delivered with a sweet
sincerity.

Hannah Wood was a natural comedienne in the role of Cockney Landlady

Mrs Brown with a good command of the cockney accent and its delivery.

The Dancers, Nicole Cheung, Jessie Manhi, Lizzie Osborn, Amelia

DAdemo, Emilia Patterson, Mia Cinus and Emma Lunness were
delightful, adding playfulness and energy to the ensemble numbers.

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This was a very entertaining, polished mature production which rightly
deserved the raucous applause. The cast were clearly in their element
and the audience threw themselves into the revelry.

Many thanks for your kind hospitality and I hope to see you all again in
the future.